President: Vice President: No. 479 - June 2012 Simon Russell Beale CBE Nickolas Grace Price 50p when sold

Head over heels! James Ranger reports on Shakespeare’s Birthday Party Over 40 members and guests attended the party held at . We were joined by Ned Seagrove, the Stage Door Keeper, who had conducted a large number of members on a backstage tour of the Old Vic earlier in the year and entertained us with his stories of the theatre. In the last Broadsheet we published a picture of the bust of Shakespeare that we use at the party. The bust is now on loan for six months to adorn the stage set of Long Days Journey into Night at the Apollo Theatre where David Suchet is in the lead role. Members will recall David Suchet cut the cake at the Twelfth Night Party in 2009. When the bust returned for one day to the Old Vic for our party a much smaller understudy stood in for him! Nickolas Grace, our Vice-President, gave a most spirited talk before proposing the toast to the Bard. His reminiscences of the Shakespeare roles he has appeared in kept us very amused. He began by doing an athletic cartwheel before giving Puck’s opening speech from a Midsummer Nights Dream. As you can

Nickolas Grace, Vice-President of the Vic-Wells Association - after his cart-wheel! see from the photo he was acting splendidly. What a trouper! As usual Ruth Jeayes and committee members organised the party superbly, providing appetising refreshments, wines and soft drinks. In all, the event was a wonderful success! Nickolas Grace plays the Master of Trinity in Chariots of Fire at the Hampstead Theatre – which transfers to the West End’s Gielgud Theatre on 22nd June.

Ned Seagrove, Stage Door Keeper at the Old Vic, Maggie Willis, Joyce Parsons and other Vic-Wells Association members enjoying the party

Nickolas Grace amusing Sir Vice-Chairman, Tim Rooke talking to Chairman, Jim Ranger and Sir Peter Wright

Party photography by Nick Panagakis © Party photography by Nick Panagakis © Joyce - What are you drinking?

2 Who Guards the Guardians? Report by Richard Reavill

Readers of these pages will know me as Secretary of the Vic-Wells Association, but my day-job is University Lecturer. I teach management to students at Cass Business School (City University) and supervise student projects in business studies at The School of Oriental and African Studies (University of ). A subject which continues to exercise business school academics is ‘corporate governance’, which generally means the way organizations are managed and controlled.

In an article in the previous edition of The Broadsheet I made a “Many feel that Ashley brief comment on the case of Ashley Page, the Artistic Director of Scottish Ballet. Page has enhanced the repertory of Scottish Ballet Page has been shoddily by adding existing highly regarded works, for example Song of the treated by SBB” Earth seen this Autumn at Sadler’s Wells. He has choreographed new ballets, and commissioned new work from other choreographers. While not finding new masterpieces, the works have been interesting, and have provided innovation for the dancers and the audience. He has recruited new dancers and presided over a very significant improvement to the standards of dancing in the company. He has held the post for nearly a decade. However, when his contract came up for renewal next year, the Scottish Ballet Board offered Ashley Page a contract extension of only one year. Page rejected this, justifiably in my view, as it implied a lack of commitment to him. It seemed to say, “we do not want you any more, but please hold the fort for another year while we find a new Artistic Director”. The consensus in the ballet world is that Page has done an excellent job, and at this stage in his career might have sought a similar post in a larger company. Many feel that he has been shoddily treated by the Scottish Ballet Board.

A pre-occupation with corporate governance, and the situation of Ashley Page, made me wonder a little about the way dance Ashley Page companies are governed. The usual arrangement is that a dance company will have a Board, often recruited from a group known colloquially as ‘the great and the good’, and much less often from those with any knowledge of dance. The duties of these boards are sometimes rather vague, but usually they are to provide general policy guidelines. Perhaps their only significant decision is to appoint an Artistic Director. They should also monitor the performance of the Director, to see that all is going well in line with the established policy. They may also appoint an Administrative Director to look after the money and administration, thereby freeing the Artistic Director to concentrate on the repertory, performance, dancing standards, etc. The UK differs from the USA in this respect, as there the duties of the Board include raising money, much of it from their own pockets, as readers of Michael Kaiser’s book, The Art of the Turnaround will be aware.

From this brief analysis, it might appear that the most important function of a dance company board is the hiring (or firing) of the Artistic Director. Since this happens a couple of times per decade it could be regarded as a modest work-load, but it is a major decision and critical for the future of the company concerned. Despite this, the record of such decisions in the UK is inconsistent. At the Royal Opera House, a decision was made to appoint Ross Stretton to direct . When it became apparent to the authorities that he was a disaster, (rather later than it was obvious to everyone else), he was dismissed. Appointment of Monica Mason as Acting Director was a ‘quick fix’, and her subsequent permanent appointment and re-appointment required no great skill as she was obviously the best person for the job. Her performance in the role has been widely praised. However, looking back at the past record of the administration at Covent Garden, there was the almost catastrophic performance by the Opera House Board at the time of the Redevelopment Project in the last 1990s. The ROH is now very well managed, but is this because the Board has more competent members, or is it 3 because the Board is now a Board of Trustees, and more remote from day-to-day operations than previously, or is it because they have appointed very able senior staff, for example Michael Kaiser, Tony Hall, Monica Mason, and Antonio Pappano?

Birmingham Royal Ballet Board has made no mistakes, “Conspiracy theorists abound” but they only had one such decision to make in nearly three decades. The company arrived in Birmingham from Sadler’s Wells with Sir Peter Wright at the helm. When he retired, appointing David Bintley was something of a ‘no-brainer’. Like Monica Mason, he was the obvious choice, and has done an excellent job. Stability has been provided by the Rambert Board, with two directors in the past two decades, Christopher Bruce followed by Mark Baldwin. At Northern Ballet, the current director David Nixon has been in post for ten years. There have been many changes at : Peter Shaufuss was fired, and allegedly escorted from the building on the orders of the Chairman. The next incumbent was Derek Deane, who departed rather suddenly. He was followed by Matts Skoog, who also left suddenly. Credible explanations were not available in either case. The current incumbent is Wayne Eagling, who experienced an unexpected departure from his previous job directing the Dutch National Ballet, although his performance in that role was well regarded. It was announced in March that Eagling was leaving at the end of the season, another sudden and unexplained departure. A new Artistic Director, ( from the Royal Ballet), has been recruited in a hurry. The short time-scale and minimal advertising for the vacant post has caused concern, and conspiracy theorists have suggested that the ENB Board had already decided on a preferred candidate.

So we have something of a mixed bag of results in terms of the performance of the boards of dance companies, with perhaps more incidence of poor or precipitate selection and directors falling out with their boards than seems desirable. Of course, it takes two to quarrel, so it is difficult for outsiders to determine who is to blame when a falling-out occurs. Page has made it clear that he wanted to stay with Scottish Ballet, and would accept a 3 or 5 year extension of his contract. The Scottish Ballet Board offered only a one year Tamara Rojo extension. When this was rejected, the Board issued a weasel- worded statement saying that it had been unable to agree terms with him. Peter Mandelson would have been proud of that piece of ‘spin’, but it does the Board no credit. Maybe the boards believe that an Artistic Director should serve only a limited term, and that a new person at the helm can stimulate a company. Certainly there will be little support for the idea that the job should be a life-time appointment. If a Board does not wish to extend the contract of a successful Director who is willing to continue in the post, it should have the courage and the courtesy to publish a justification. Not to do so looks mean and underhand.

Who are the members of the Boards of UK dance companies? How are they appointed and by whom? To what extent are they representative of the stakeholders of dance in the UK? I will suggest some possible answers to those questions in the next Broadsheet.

Meanwhile, Christopher Hampson has been appointed as Artistic Director designate for Scottish Ballet, and takes over in the autumn of 2012. Let us hope, for the good of the company, the dancers, and their audience, that he is successful. Let us hope also, that he is better treated by the Scottish Ballet board than was Ashley Page. Perhaps Tamara Rojo will stay for a full term at ENB, and will not become the Christopher Hampson fifth incumbent in succession to make a premature exit.

4 The Duchess of Malfi Review by Tim Rooke Kevin Spacey has once again given the Old Vic cause to celebrate with this revival of John Webster’s play – but I cannot subscribe to a faction who view Spacey as second to God and Shakespeare! However, undoubtedly, the Old Vic is going through a purple patch. Jamie Lloyd’s production looks good and makes for a thought provoking evening – a Jacobean tragedy is not the easiest thing to get through. He makes the Bard seem like a Haymarket drawing room comedy. The cast, as we have come to expect at the Old Vic, is outstanding and it was a treat to see Eve Best back on the boards and she did not disappoint. It was easy to see why she falls for Tom Bateman’s Antonio - to the chagrin of her two brothers, played by Harry Lloyd and Finbar Lynch - and this Eve Best as leads to murder most horrifying. The Duchess of Malfi In the second week of the run it appeared that this p i e c e c o u l d b e inheriting the Scottish “Kevin Spacey is good play’s curse – the bed, on which the duchess - but not second to is ravished 16 times a God or Shakespeare!” week, collapsed and a few nights later a mouse appeared on stage! While I greatly enjoyed the evening the, duchess gets periodical outings. It would be interesting to see other plays from this era such as Christopher Marlowe, Francis Beaumont, John Fletcher and Ben Jonson. Kevin Spacey take note!

Out and About with the Vic-Wells A report by Tim Rooke

On a beautiful English summers day a group of Vic-Wells members made their way to Angels Costumiers, founded, so Mark our guide told us, by Morris Angel in the 1750’s, and the head of the organisation still has the same name.

Our tour started in the cutting room where they were making costumes for companies worldwide including the Met Opera New York. As our guide said they have the same type of organisation but, if you want the best “come to us”. On display in the ladies department were costumes from recent films including The Iron Lady. As we went from section to section, we saw walls covered in signed photographs of every name in film and theatre as well as from the great and the good including one from for garments for a reading tour of the USA. We also had a glimpse of the uniform section with clothing from every period of history as well as an impressive fur store... kept very cold! All Meryl Streep in The Iron Lady this time our guide entertained us with lots of background facts and figures in a most amusing way and - seemingly suddenly - we were back where we started and two hours had gone in a flash!

5 Sadler’s Wells enters The Space

Sadler’s Wells has been chosen as one of the first companies to broadcast on The Space, a new online channel dedicated to the arts, managed by Arts Council England and developed in partnership with the BBC. Launched in May, The Space’s 53 successful applicants – including Bristol Old Vic, Shakespeare’s Globe and the Southbank Centre – have created hours of original commissions to run until October this year. The new service gives arts and culture organisations the opportunity to experiment and engage with new and existing audiences in an innovative digital environment. Sadler’s Wells had two successful applications to the fund: Breakin’ Convention recently appeared live on the channel, and songs from Sadler’s Wells’ forthcoming new musical Wah! Wah! Girls will be filmed on location around London for screening. Sadler’s Wells Associate Artist Russell Maliphant also received funding to create a film Vagabond Crew – the French B Boys in action – one of the interpretation of his latest work, The highlights of BC12 Rodin Project. Photo: BELINDA LAWLEY The Space has been timed to coincide with 2012’s exciting activities within the arts, and around the London Olympic Games and the Queen’s Diamond Jubilee. The Space is now live and available via computers, smartphones, tablets and internet-connected televisions. To catch the live screening of the Sadler’s Wells production, tune in on www.thespace.org The footage will also be available on the theatre’s website www.sadlerswells.com

News from the Old Vic by Liz Moon Following on from the successful Duchess of Malfi, The Old Vic’s next production is Michael Frayn’s Democracy directed by rising star Paul Miller. Democracy was described as,”one of the great plays of the decade,” by The Sunday Times when it received its premier in 2003 and the Old Vic say they are,” delighted to give this excellent production a well- deserved London run”. To keep up to date with the latest news and announcements from The Old Vic you can join our l i s t o f e - s u b s c r i b e r s b y v i s i t i n g Sheffield Theatres’ critically acclaimed production www.oldvictheatre.com and signing up to our of Michael Frayn’s Democracy will transfer to the newsletter. Alternatively, search for ‘The Old Vic’ on Old Vic theatre this summer facebook or follow us on twitter@oldvictheatre

6 Ninette de Valois

Vic-Wells members may be particularly interested in this book as the Association helped to sponsor the performance of the Yeats’ play King of the Great Clock Tower – choreography by Ninette de Valois – which will be available on a DVD of more than four hours of filmed material of archival value that accompanies the book. Ninette de Valois was gifted with myriad talents. The essays in this study offer a substantial resource to assist future exploration of de Valois’ life and work. It is without question that de Valois’ unparalleled success derived from her unshaken faith that ballet’s training methods and repertoire must be both fearlessly adventurous and confidently traditionalist.

Ninette De Valois: Adventurous Traditionalist Paperback: 300 pages. Dance Books Ltd. Publication date: 30 June 2012

Old Vic and Sadler’s Wells Brooches Readers will recall in the previous Broadsheet a picture and some comments about a brooch given to Vic-Wells Association members in 1938. The brooch was sent to us by Virginia Surtees, who has written to me explaining that the rather pretty pill-box in which the brooch arrived was not part of the original gift, but merely a suitable receptacle to keep it safe for many years. Following the publication of the photograph of the Vic-Wells brooch, we have received two more brooches from another of our senior members, Jan Golding. Both are for the Old Vic Association. One is small, simple, and triangular in shape, but the other is to the same design as the Vic-Wells brooch, albeit with different lettering. Our thanks go to the donors of these items, which will be kept with other Vic-Wells memorabilia. Richard Reavill The Vic-Wells Association Is looking for a Social Secretary to organise our parties and visits. If you have an outgoing personality with a few hours each month to spare and think you could be of help please contact Vic-Wells Chairman, Jim Ranger, on 0143 886 1318 or [email protected]

REHEARSALS AT SADLER’S WELLS - AUTUMN 2012

Sadler’s Wells staff rarely know more than a few days in advance whether companies will be holding a dress rehearsal at all and whether they would welcome our Members to attend. Please check nearer the time with Richard Reavill (Phone 01491 872574) who will confirm date and time if the rehearsal is going ahead. He will inform automatically all those Members who are on the email list but it would be helpful if you would reply if you are coming. If you have an email address but are not on Richard’s list please register on vic- [email protected]. Here are their best guesses for possible rehearsals: Friday 13th September - San Francisco Ballet Friday 19th October - Rambert Dance Company

7 What’s on

Sadler’s Wells www.sadlerswells.com Rosebery Avenue, London EC1R 4TN 0844 871 0090 Main Theatre 6 June - 9 July Tanztheater Wuppertal Pina Bausch - World Cities 2012 (10 productions, each for 2 days at either Sadler’s Wells or the Barbican - see Sadler’s Wells programme for full details) 12 July - 5 Aug. Matthew Bourne’s Play without Words 2 Sep. National Youth Ballet 14 - 23 Sep. San Francisco Ballet (3 programmes) San Francisco Ballet

Lilian Baylis Studio 18 July - 5 Aug. Attic Theatre Company 1936 9&26 Aug.,1&2 Sep. Lost Musicals 2012 - Aladdin 13-14 Sep. Kassys - Cadavre Exquise

Peacock Theatre National Youth Ballet Portugal Street, Kingsway, London WC2A 2HT 24 May -23 Jun Wah! Wah! Girls - A British Bollywood Musical 4 - 8 July New English Ballet Theatre - Synergies 8 - 15 Sept. British Youth Opera The Bartered Bride/A Night at the Chinese Opera 20 Sep - 13 Oct Zoo Nation Dance Company New English Ballet Theatre

Old Vic Theatre www.oldvictheatre.com Waterloo Road, London SE1 8NB 0870 060 6628 15 June - 14 July Michael Frayn’s Democracy

The Vic-Wells Association Founded in 1923 by Lilian Baylis CH The copy deadline for the next issue of Chairman: Secretary: Treasurer: The Broadsheet is Mr. James Ranger Dr. Richard Reavill Mr. Neville C Taylor Saturday, Cromer Cottage 7 Nuns Acre Flat 1 th Cromer, Stevenage Goring, Reading 128 Gloucester Terrace 18 August 2012 Herts SG2 7QA Berkshire RG8 9BE London W2 6HP Please send 0143 886 1318 0149 187 2574 0207 262 5898 [email protected] [email protected] [email protected] items or letters Vice Chairman: Membership Secretary: Broadsheet Editor: for publication to Mr. Tim Rooke Professor Liz Schafer Mrs Marjory Agha The Editor 302b Park Road 372 Stroude Road 18 Pembroke Road London N8 8LA Virginia Water Kensington to arrive before 020 8352 0492 Surrey GU25 4DB London W8 6NT this date. 0134 484 2836 0774 684 7126 [email protected] [email protected]

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